"The play needs greater cunning and more significant horror, too. It’s all well and good for a show to chance the word “boo” but not if one’s response to the scare tactics is a mere shrug."
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“Rupert Goold doesn't maintain his directorial grip on the script. It begs an interesting question: given that the text is so quick to capitulate between feminist-tinged black humour and serious meditation on gender politics one cannot help but wonder whether a female director would have been better suited to execute it.”
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“The shape-shifting audacity of the play makes it exciting to watch, if ultimately confounding...This is a wild ride with the Devil. And if anyone can conjure up a theory that explains it all, I’d love to hear it.”
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"If it is a failure, it is a heroic one, performing the rare feat of leaving this critic impressed, exasperated but temporarily speechless."
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“...it’s never less than entertaining, a wickedly funny study of women and wickedness and wickedness in women. Infernally good stuff.”
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"The devil is in the detail and that’s lacking, the second half a melee of plotting and talking. It’s hard, finally, to care as the power struggle intensifies. A case of buyer, beware."
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“The plotting is so erratic that I began to wonder if I had fallen asleep during key scenes... I apologise for such a vague summary, but there were long stretches when I honestly had little idea of what was going on.”
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“The devil, as they say, is in the detail, and this play is far too nebulous. It is not quite diabolical; but it needs a hell of a lot more work.”
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